SOFT FOCUS

Topics in this issue

Issue No. 9

Media LiteracyFilm EducationChildren’s Film Festivals

Y O U R C R I T I C A L L E N S

Contents

A Note from the Editors01“It’s just a children’s film.”A Critical Response to a Seemingly Simple Statement by Behire Mollaoğlu

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What exactly is media literacy? An Explanation by Tracy Rammler

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Fostering Film Competence: An Educational Impulse by Fateme Farhoudi

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Children’s Film Festivals: An Entertaining and Educational Experience by Tracy Rammler

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Top Awarded Children’s Films from 2014

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Reading Recommendations15

A Note from the Editors

Dear Readers,

t’s that time of year again. September has arrived, and as parents and educators we all have some resolutions for the new school year. The days are getting colder, children are spending

more time indoors, and we are again searching for motivating, educational activities to keep them engaged and learning. In this edition of Soft Focus: Your Critical Lens, we have focused on film as a powerful medium for entertaining, educating and inspiring children and young adults. We have gathered information about media literacy and film education in general – topics of interest to both parents, who often negotiate which films will be watched on the family television, and teachers, who are perhaps wondering what films to include in this year’s curriculum.

We have provided some information about upcoming children’s film festivals which will take place all over Germany in the next few months. We hope this will assist you as you plan family events and class trips. Since the number of children’s films available can be overwhelming, we have also included some recommendations for parents and educators. For those of you interested in exploring the topics of media literacy and film education further, a list of good reference materials has been provided at the end of the magazine. We thank you for placing your trust in Soft Focus: Your Critical Lens and wish you all an enjoyable and inspiring reading experience.

Sincerely,Your EditorsFateme FarhoudiBehire MollaoğluTracy Rammler

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“It’s just a children’s film.”

A Critical Response to a Seemingly Simple Statement by Behire Mollaoğlu

Without a doubt, films have the potential to impact children in a profound way. At their highest level, films can move children and help them to see the world differently, more critically. They can introduce them to people and worlds they would otherwise never have the chance to meet and experience. Children are generally curious about the world around them, and films offer the chance to sit back, relax, and learn about the world in a way that is – at least for some children – less strenuous and more entertaining than reading. In the children’s section of your local library or video store, you will find an immense selection of children’s films. In fact, it is difficult to find a film genre which does not produce films for a children’s audience. Most people would agree that a children’s film is a work of art, yet how often do we stop to think about the film industry as a competitive, for-profit market and the significance this might have on the films that are produced? Ian Wojcik-Andrews, Professor of at Eastern Michigan University, has made the study of children’s films his life’s work. He encourages parents and educators to reflect on the personal, pedagogical and cultural significance of children’s films in a critical way. A parent himself, Wojcik-Andrews remembers the day his children claimed they were grown up enough to watch movies like Terminator 2, Starship Troopers and Beavis and Butthead rather than shows like Sesame Street, Lamb Chop and Reading Rainbow. He was uncomfortable with the killing, ridiculing, shooting and punching scenes his children would be exposed to and believed movies like this could do them immeasurable harm. Reluctant to let his children watch anything they felt like, family movie time turned into a complicated negotiation process.

Mark Crispin Miller, Professor of Media Studies at New York University, emphasizes how important it is for parents and educators to be aware of the cinema industry’s influence on children. Huge foundations such as Generic Electric, Time Warmer, Westinghouse and Disney/Capital Cities have the power to control major film studios. Seen from this perspective, a children’s film is not necessarily a work of art, but a product to be sold to young consumers. According to Miller, children’s entertainment, like every branch of the entertainment sector, cannot be effectively distributed without closely controlling and monitoring young consumers. For parents and educators, it is highly important to be aware of the fact that children’s films may have purposes or ideologies arising from the company’s mission. This alone is enough of a reason for parents and educators to be conscientious about the films they choose for their children.A look at Sumner Redstone’s Viacom information map reveals just how concentrated ownership is within the film and television industry. Viacom, an American mass media corporation, owns a surprisingly high number of major television and film studios.Sumner Redstone’s Viacom Information Map:• Owns Blockbuster, Paramount

Pictures, Nickelodeon Television, Blockbuster Videos and Comedy Centreillion operating budget

• Access to more than one hundred countries than five hundred copyrights

• Paramount Pictures Corporation, one of the six biggest film studios in Hollywood, produces and distributes films for Europe, Asia, the United States, Africa and Australia

• Nickelodeon Television, an American basic cable station with programming aimed at children and adolescents, serves more than one hundred

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countries and regions, some of which are: the United States, Russia, Japan, Brazil, the Middle East and Europe

• Blockbuster Videos, the world’s largest DVD and game rental company, serves more than twenty nine countries, some of which are: Asia, Australia, New Zealand, Unites States, Europe, Canada, Mexico, England, Peru, Taiwan and Italy

Acknowledging the danger inherent in such a system, Wojcik-Andrews analyzes ideology questions in children’s films using some aspects of Marxist theory. He suggests that giant companies create products based on ruling class ideologies and then sell them to young customers. Therefore, it is incorrect to assume that children’s films are solely a work of art. Rather, they can be sites of ideology, opportunities to teach young consumers social behavioral patterns and influence their views about gender and class. According to Marxist thought, ideology is the ruling classes’ propaganda. The ones who have the power to control the means of production – like, for example, Viacom – also have the power to control the production of society’s ideas. The ruling class presents their ideas as if they were the common ideas of the public. In this way, their ideas are legitimized and imposed upon society. Like Wojcik-Andrews, critical film theorists Jean-Luc Comolli and Jean Paul Narboni also reject the more aesthetic definition of film as an expression of the human condition. Films, according to Comolli and Narboni, are both a commodity and an expression of a particular ideology. Corporations need raw materials and labor to create one final commercial product. Studios function as factories which produce films, commodities to be sold to specific target groups and no different from books, clothing, records, toys or dolls. The entertainment industry works within the capitalist system. Giant corporations create conditions of poverty and inequality but

never celebrate or acknowledge poverty and inequality in their productions. Ideology creates a mask to hide the opposite side of the coin. Viacom and other mass media corporations claim to produce children’s films which are simple, pure, and entertaining – not only for children, but for the whole family. Regardless of whether we sympathize with Marx’ ideas or not, we can agree that films have the potential to send powerful messages to our children. It is our responsibility as parents and educators to investigate the industry behind the product. We have the responsibility to teach our children to think critically about what they see. It’s not just a children’s film. Let us flip over the coin.

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What exactly is media literacy?

An Explanation by Tracy Rammler

According to the Center for Media Literacy (CML), media literacy is not only the ability to engage critically with different forms of media. It is a general approach to education which provides a comprehensive framework enabling access, analysis, evaluation, creation and participation in media as a form of discourse. Media literacy promotes democratic values like liberty, equality and justice as well as personal development and autonomy.Media literacy explores media culture, the intertwined relationship between culture and media, recognizing that media has become an integral part of today’s world. It is an extended definition of the concept of literacy. CML teaches five key concepts or principles which create a solid foundation for media literacy.First, any meaning that may be present in media messages is constructed. Films, for example, are not depictions of reality, but a (re)construction of it, carefully planned and selected to reach a specific target audience and serve a particular purpose. Therefore, it is imperative for students – and indeed all media consumers – to identify who has created the message and to what ends the message has been constructed. This is particularly true of so-called blockbusters, films that have been made and produced for the masses. Second, messages in media are constructed not only through language, but through the use of specific audio and visual techniques which operate under their own rules and conventions. This creative language varies from medium to medium. Mainstream Hollywood films tend to adhere to cinema conventions like a linear narrative structure

or the obligatory “happy end”, whereas more independent film studios employ techniques associated with counter-cinema or oppositional cinema, like a more cyclical narrative or the absence of closure at the end of a film. Such films aim to question or even challenge the status quo through experimentation. One aspect of media literacy is to learn how to identify such techniques and the effects they aim to induce on the audience. Third, people react to media messages differently. One stimulating activity for students could be to consider how different groups of people might react to the same media product. Since films are created for a particular audience, certain assumptions are made about this particular group. An important part of media literacy is to question whether or not those assumptions are valid and to what extent they apply to a particular individual or group. Fourth, media always reflects a particular set of values. The value set may be communicated implicitly or explicitly. Media literacy includes the ability to identify the values, life styles, opinions and ideologies a particular message promotes along with the messages that are ignored, discouraged or even condemned. Finally, most media messages are profit-oriented. They are constructed to maximize profit and increase a particular person’s or group’s power within society. In media literacy programs, students are encouraged to think critically about power relations and the reasons why a particular message is being sent.For more theoretical and practical resources for educators on the topic of media literacy, including free lesson plans and an activity archive, visit CML’s website at www.medialit.net.

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In a media-saturated world, children’s exposure to various types of media is inevitable. Every child has at least some knowledge about media. Smart phones, tablets, computers, and televisions accompany children throughout the day, often taking up a large portion of their leisure time. However, in order for children to develop media competence, formal and/or informal media literacy education is necessary. Parents, teachers and policy makers are at the center of this responsibility to inspire children of different ages and improve their media literacy in a pedagogical context. To achieve this

Fostering Film Competence:

An Educational Impulseby Fateme Farhoudi

goal, our education system needs to have trained educators and informed parents who are able to assist children in making decisions about educational material that is compatible with their interests and their ages. In this way, children can actively participate in the learning process. This is especially crucial for preschool children who are still incapable of choosing media for themselves, since age-appropriate programs may help to prepare them for formal education. Trained teachers and parents can help to maximize the positive effects and minimize the negative effects of media.

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One of the important media for educational purposes is the medium of film. Children of different ages respond differently to visual images. For example, preschool children prefer to watch movies based on real life, since they cannot differentiate between real and pretend and thus cannot interpret symbolic messages. Such movies mirror their own experiences and help them to understand the world around them. If, for example, you ask a two-year-old child about the reality of an object in a television program, s/he will tell you that it is real. Older children, however, are usually attracted to movies that are action-based

and convey elements of humor. Knowledge of the cognitive development of children at different ages is of crucial importance when choosing age-appropriate movies and planning activities in educational settings. Learning areas to consider are:• Personal, social and emotional

development;• Communication, language and

literacy;• Knowledge and understanding of the

world;Physical development;• Creative development and critical

thinking.

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Film can be used across the entire curriculum. Teachers can teach school subjects with the help of films to increase the students’ motivation in subjects such as mathematics, geography, and history. One of the benefits of teaching with visual images is that teachers can engage the students’ attention during the learning process; this is especially true for children with concentration problems. Film education is about active learning. Therefore, it aims to develop both critical understanding and active participation. It enables children, particularly older children and young adults, to interpret and make informed judgments as learners; but it also enables them to become producers of visual images. Film education supports the development of young people’s critical and creative abilities. The best film education programs include not only watching films, but also critical thinking, discussion, team work, and film making. Educators and parents can engage children in learning and teach them many valuable skills. In film education, children learn how to understand film language and how to analyze the language of the visual images. Educators can broaden the children’s imagination by teaching them how to read visual texts like printed texts. They can also compare books with movies. Teachers can explain how film makers often struggle between what to include from a book and what to leave out in order to create a quality movie for their target audience. Children can apply this method when making their own films. This activity is invaluable for improving their creativity and problem-solving skills, because they will need to think critically regarding what to include and what not to include in their movies. As a result, their self-confidence will enhance and they will learn to trust their abilities during the learning process.A well-organized discussion after watching a movie is one way teachers and parents

can engage children in analyzing and understanding the film’s message. For preschool children, the focus should be on group work. Role play is one of the most suitable activities for this age-group. The characters that they play must be found in real life in order to relate to their own experience and knowledge. Older students can also discuss films in groups, yet film review and summaries can also be written individually. The teacher can ask diverse questions based on the film. Questions may be about the film’s theme(s), setting, characters, and music. These are among some of the important domains which convey the film’s message. One of the film education activities that children will learn and enjoy is that they can produce their own films with the support of educators or parents. The subject can be school subjects or important cultural/social topics. For most students, it will be the first time ever that they participate in creating rather than consuming media. During this film project, students will learn how to use a camera, how to edit, how to choose music for the film and much more. Such an experience can make learning more enjoyable and empowering for the students. These learner-centered activities can help them to become responsible and autonomous learners. Moreover, creating art in the form of movies will help to develop aesthetic and emotional competence in children. They will be able to appreciate the artistic value of films they watch.Improving children’s communication skills is one of the objectives and benefits of film education. Communication ability is an umbrella skill that underpins other learning areas. There are particular ways in which work on movies can improve learning in the communication and language skills. Providing opportunities for children to discuss their experiences and reactions to the movies, arranging well-structured debates, and asking questions lead to

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language improvement in younger children. Second language learners can develop their vocabulary through these communicative activities. Older and more advanced children will develop their argumentative skills. Another option is for them to talk about their favorite character in the movie and/or to role-play their favorite scene. They could also be asked to write an alternative ending to the movie. Older children can be asked to write a summary or film review for the local newspaper. Cultural and intercultural competence is one of the essential skills that children need to develop in today’s globalized world. The medium of film is an excellent tool to teach this skill to children. Through moving images, children learn about their national values, customs, language and art. They can learn how to be responsible citizens. In addition, they are presented with people from different sociocultural backgrounds. They can become familiar with difficult situations like immigration, adjusting to the new culture and intercultural conflict. In films which present conflict in the form of a culture clash, students can learn to be more tolerant. They can be encouraged to come up with their own solutions to today’s problems. In choosing films for children, parents and educators need to be selective and consider children’s preferences and age-appropriate content. Educators should apply an integrated and holistic approach to teaching and learning. Practitioners need to be clear about the specific skills, knowledge, and understanding they are developing when they integrate films into their lesson plans. Ideally, film analysis leads to activities which involve active participation and even production. Establishing such a foundation will ensure that children become media competent in the media-rich world they live in.

FILM EDUCATION IS ABOUT ACTIVE LEARNING. THEREFORE, IT AIMS TO DEVELOP BOTH CRITICAL UNDERSTANDING AND ACTIVE PARTICIPATION.

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Lucas, the 38th International Children’s Film Festival, will take place this year from September 27th to October 4th in Frankfurt am Main. Featuring “sophisticated, promising productions aimed at young audiences”, the festival fosters film and media literacy in children and teachers. Sign up now for the educational series “Seeing Film – Understanding Film” by sending an email to info@lucasfilmfestival.de or via the festival’s website at:http://www.lucas-filmfestival.de.

Hamburg’s MICHEL Children and Youth Film Festival will take place this year from October 2nd to 10th for the 13th time. The festival, which offers a variety of films for children and teenagers from age 4-16, features youth-led discussions after every film screening. To find out more, visit:http://www.michel-kinderfilmfest.de/de.

For more film festivals for children and young adults in Germany and around Europe, visit the European Children’s Film Association website at:

http://www.ecfaweb.org.

Looking to provide your child or class with some stimulating film experiences? Perhaps you are tired of the same old films shown week after week on cable television? Why not visit one of the renowned children’s film festivals around Germany? Film festivals can be a great activity to round out your next family weekend or add something special to your next class trip. They offer the opportunity to watch excellent, high quality films that have been pre-selected by a qualified jury and guarantee both entertainment and inspiration.

Upcoming children’s film festivals:

Children’s Film Festivals: An Entertaining and Educational Experienceby Tracy Rammler

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SCHLINGEL, Chemnitz’ own International Film Festival for Children and Youth, will take place from October 5th to 11th. The festival includes workshops and discussions with young actors and directors. Screening over one hundred international films, the festival brings a truly international flair to the city. For more information visit:http://www.ff-schlingel.de.

The 26th annual Cinepänz, Cologne’s Children’s Film Festival, will take place from the 14th to the 22nd of November. Numerous educational activities and workshops will take place alongside the festival’s ten premiere films.

KUKI and TeenScreen, Berlin’s 8th annual International Short Film Festival for Children and Youth, will take place from November 8th to 15th. One hundred films will be shown over the course of the 8-day festival. According to the festival’s

website, the organizers are “dedicated to presenting fabulous and unusual films that young people would otherwise rarely get a chance to see.” Find out more at:http://www.interfilm.de/kuki2015.

Children’s Film Festivals: An Entertaining and Educational Experienceby Tracy Rammler

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Casper & Emma’s Winter Vacation (Norway)Age 5+

Casper’s long awaited family vacation in Spain has been canceled. As if that were not enough, his parents have started fighting. Do they even love each other anymore? Are they going to get a divorce? Unexpectedly, his best friend Petra invites him and his sister to spend the winter holidays at her grandparents’ cabin. Yet the enchanting winter wonderful only distracts him temporarily and he begins to plan his own adventure.This film captures the beauty of the Norwegian winter. Casper experiences not only the bleakness of fear and disappointment, but the warmth of friendship and hope.

Top Awarded Children’s Films from 2014

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Top Awarded Children’s Films from 2014

Ricky Rapper and Slick Leonard (Finland)

Age 8+

Ten-year-old Ricky Rapper lives alone with his Aunt Rose in Finland. When summer vacation finally arrives, Aunt Rose decides that it is time to find the boisterous boy a father figure. She submits an advertisement Ten-year-old Ricky Rapper lives alone with his Aunt Rose in Finland. When summer vacation finally arrives, Aunt Rose decides that it is time to find the boisterous boy a

father figure. She submits an advertisement in the local newspaper and the first candidates soon arrive. Red-haired Ricky and his friend Nelly decide to make a game of frightening them all away. After all, he doesn’t need any father. He prefers spending time with Leonard, his aunt’s old friend. Rose, however, doesn’t let loose, and Leonard is forced to make his own plan.Going through life’s adventures without any parents, Ricky has become good at tackling his own problems.

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The Outlaw League (Canada)

Age 8+

Nicolas loves baseball more than anything in the world. He practices everyday with his friends in a beautiful baseball field. The mayor, however, has decided that their field of dreams will soon become the next city dump. The children are furious and vow to stick together to protest the mayor’s decision. They decide to occupy the baseball field to force the mayor to yield. She agrees to reverse her decision if the children are able to organize a complete game for a large audience. Nicolas, the 12-year-old leader of the gang, turns to his grandfather for help – but in secret. The family hasn’t spoken to him since the death of Nicolas’ father.This film shows how being decisive and taking action can lead to an improvement in our situation. It’s about sports, friendship, and the power of unity. For more top children’s films, visit http://www.filmeducation.org. This website offers a children’s film archive complete with recommendations, reviews, and lesson plans.

ReadingRecommendations

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• Grammar of the Film Language by Daniel Arijon (1976)

• Media Literacy Education in Action: Theoretical and Pedagogical Perspectives by Belinha S. De Abreu and Paul Mihailidis (eds.) (2014)

• Reel Conversations: Reading Films with Young Adults by Alan B. Teasley und Ann Wilder (eds.) (1996)

• UNESCO’s “The influence of the cinema on children and adolescents: an annotated international bibliography” (1961)

• Children’s Films: History, Ideology, Pedagogy, Theory by Ian Wojik-Andrews (2000)

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SOFT FOCUSIssue No. 9

Y O U R C R I T I C A L L E N S